It's hard to imagine anyone not knowing the story of Alice and her Adventures in Wonderland, but you probably won't remember it quite like this! Our ensemble cast of Sam Bass’s Youth Guild brings Andre Gregory's classic avant-garde one-act play to life. This exuberant, funny version of Lewis Carroll's classic is NOT the Disney-fied version. It IS a piece of pure theatre that is full of truth, fun, terror, and uncanny pertinence to our own topsy-turvy times. Andre Gregory may be recalled by some as the subject of the film “My Dinner With Andre”, in which he played himself.

For More Information: Call 210.212.5454 - Additional Website for the Show:cameocenter.com

It's 1962 in Baltimore...there’s a change in the air, the 50’s are out and the 60’s are in. HAIRSPRAY, winner of 8 Tony Awards including Best Musical, is a family-friendly musical comedy written by the award-winning composer/lyricist Marc Shaiman and lyricist Scott Wittman, noted playwright Mark O’Donnell and Thomas Meehan. This high energy cast will fill your heart with laughter, romance, and deliriously tuneful songs! The Loveable plus-size heroine, Tracy Turnblad, has only one desire -- to dance on the popular Corny Collins Show. Suddenly her dreams transform into reality and Tracy goes from a social outcast to a teen superstar overnight. She must use her new found power to dethrone the reigning teen queen Amber, win the affections of heartthrob Link Larkin, and integrate a TV network, all without denting her 'do!

**Based on the New Line Cinema film written and directed by John Waters

Friday, June 29, 2012

Two weeks ago San Antonio theatre critic Thomas Jenkins pointed out unauthorized alterations to the script of Sara Ruhl's In the Other Room, or The Vibrator Play at the San Pedro Playhouse, causing a stir among theatre circles in the town. He describes the current state of play, comments on the role of the theatre critic and outlines the implications for theatre art in San Antonio.

The Wicked Stage on Vibratorgate at the Playhouse

Well, I’m afraid I’ve been AWOL in the Bay Area while the spectacle of “Vibrator-gate” continues to unfold at the Playhouse (see my initial review of Sarah Ruhl’s “The Vibrator Play” here, the Playhouse President’s subsequent interview here and a fascinating piece by Jade Esteban Estrada for Plaza de Armas here). The good news is that the production of Luis Alfaro’s Bruja that I saw in San Francisco was really deft and affecting and perhaps some enterprising troupe in San Antonio will pick it up; but the bad news is that we’re forced to still ponder the lessons and meaning of what happened in the Cellar in SA.

So, some thoughts: As I suspected, the Cellar did not seek permission to change the script. When I discussed Vibrator-gate with some of my non-theater-savvy friends, they were surprised to discover that licensing agreements generally preclude any alterations to the script, even a single word or setting. Indeed, Samuel French’s licensing agreement states: “The play will be presented as it appears in published form and the author’s intent will be respected in production. No changes, interpolations, or deletions in the text, lyrics, music, title or gender of the characters shall be made for the purpose of production.” This might seem draconian and legalistic, but in fact, such language protects playwrights from renegade productions—like the Playhouse’s—that misrepresent the author’s intention: after all, The Vibrator Play is not the Playhouse’s play. It’s Sarah Ruhl’s play; and if she wants to write about race, or magical realism, or boogers, or anything at all, that’s her prerogative. If the Playhouse didn’t want to produce her play as written, surely they had other plays to choose from, and better things to do.

Now, changing the play is bad enough, but the Playhouse might have at least mentioned the changes to the character and the ending in, say, the program.

The 21st annual RED HOT Party returns the Warehouse District when Oilcan Harry's hosts the evening of entertainment on Friday, July 20th, from 6 p.m. to 10 p.m. The summer social event is sponsored by Red Stag from Jim Beam and benefits Project Transitions to support AIDS and HIV education and prevention in Central Texas.

Each year, more than 600 Central Texans attend the RED HOT Party to experience four hours of live entertainment, great food from downtown restaurants and caterers, specialty cocktails and a huge silent auction. Guests will enjoy cuisine from Sushi Zushi, Mansion at Judge's Hill, Catering by Rose and Aesops Tables Catering, among others.

The huge silent auction includes autographed Broadway posters, weekend get-aways, dinner and performing arts ticket combos, a Public D8 city touring bicycle from Mellow Johnny's and much, much more.

This year, guests will be entertained by the cast of Cabaret from City Theatre, along with performances by the Austin Babtist Women, Austin City Showgirls, Julie Nelson and her band and Grrlz Will Be Bois - along with surprise special guests. And for the first time this year, the event will include the "RED HOT Fashion Show," presented by Joie De Vie Salon & Spa, Bumble and Bumble, SHi Productions, You Do You Photography and Package Menswear.

For the past 21 years, Oilcan Harry's has hosted the annual RED HOT Party each July. To date, the community has helped raised more than $250,000 at the RED HOT Party to benefit Project Transitions.

All thirty-seven plays in ninety minutes?? The new irreverent, fast-paced romp through the Bard’s works celebrating the 20th anniversary of the classic farce.

Join three madcap women in tights...Yes, we said women!..as they weave their wicked way through all of Shakespeare’s comedies, histories and tragedies in one wild ride that will leave you breathless and helpless with laughter. Part of the 2012 Summer Acts! Austin Theatre Festival.

The Hidden Room is honored to have been granted the rights to Edward Hall and Roger Warren's Rose Rage - an adaptation of Shakespeare's Henry VI trilogy, cut down into an epic two-part event. Theatrical Deviser Beth Burns will be the first director since Hall (Propeller) to tackle this cutting of Shakespeare's earliest historical masterpiece. The production will also introduce our Foreign Actor Exchange Program, where we will be joined by three actors from the UK, first rehearsing via Skype, then traveling to Austin to perform as an international team.

Filled with political intrigue and ruthless ambition, Rose Rage witnesses the toppling of kings, the loss of France, and the making of the monster that takes over young Richard III. July 26 - August 11th, in a hidden room somewhere within 311 W. 7th Street, Austin TX. Featuring an amazing all-male cast, beautiful live period music, and a bawdy, robust style. Costume design made with careful attention to Original Practices detail by the Baron's Men.

An ambivalent Cinderella? A blood-thirsty Little Red Riding Hood? A Prince Charming with a roving eye? A Witch...who raps? They are all among the cockeyed characters in this fractured fairy tale that won three Tony Awards. When a baker and his wife learn they have been cursed with childlessness by the witch next door, they embark on a quest for the special objects required to break the spell. A lively irreverent fantasy for adults and children told in the style of "Shrek" and "The Princess Bride".

Thursday, June 28, 2012

Teatro VivoAuditions Weds. July 18 & Thurs. July 19, 6:30 – 9:00 PM, Community Engagement Center, 1009 E. 11th Austin 78702 (click for map)Auditions are for two upcoming productions: Cura by Raul Garza, September 2012 at Salvage Vanguard Theater and Cuento Navideño, Bah Humbug in the Barrio by Rupert Reyes, December 2012 at Rollins Theater at the Long Center

Parts are available for men and women ages 20-50+ and for children ages 8 – 12. Knowledge of Spanish for some roles is a plus but not required. Actors should prepare a comedic and/or dramatic monologue. Each monologue should be no more than 1- 2 min. in length. Actors may be asked to do a cold read from a script.

Auditions are by appointment. Email JoAnn at joannreyes@yahoo.com or 512 413-6791. Bring a headshot or photo. You may also bring a resume – optional.

Major study "Set in Stone" examines lessons of “building boom” for museums, arts centers and theaters

June 28 , 2012

Civic leaders, arts organizations, donors and government officials can better plan new or expanded arts facilities by first focusing on the arts organizations’ missions and assessing demand for the projects, according to a new study from the Cultural Policy Center at the University of Chicago.

The study, “Set in Stone,” looks at a major building boom of museums, performing arts centers and theaters in the United States from 1994 to 2008. It is the first scientifically prepared study of its kind and was requested both by cultural leaders and major foundations that had, in many cases, provided support for these building projects.

The work was based on interviews with people in more than 500 organizations and drew data from more than 700 building projects, including both new facilities and major renovations. The costs of the projects ranged from $4 million to $335 million. It relied on rare, behind-the-scenes access to the discussions surrounding the buildings.

Unexpected challenges amid building boom

The building boom in cultural facilities from 1994-2008 outpaced building in other sectors, such as health care, said Joanna Woronkowicz, an associate at the Cultural Policy Center and one of the authors of the report.

“Expansive new venues, signature architectural statements, vital new centers of artistic and cultural activity, and objects of civic pride—all these could appear to be positive indicators,” said Carroll Joynes, co-founder and senior fellow at the Cultural Policy Center. Joynes joined Woronkowicz in authoring the report, in addition to center colleagues Norman Bradburn, Robert Gertner, Peter Frumkin, Anastasia Kolendo and Bruce Seaman.

“At least in the beginning, each of these projects was based on the assumption that a new facility would help increase audience size, increase earned and donated income, and at least indirectly, help realize the institution’s mission,” said Joynes. In some cases, this worked. But in many instances, the experiences in these new and expanded facilities were much more difficult and challenging than predicted, and put enormous strain on institutions.

The study looked at great variations in cultural building projects in the United States.

Among the key findings:

• Cities in the South had the greatest increase in cultural buildings. The region had lagged behind the rest of the country prior to the building boom — the Northeast and West had twice the number of cultural facilities per capita in 1990 than did the South.

• Increases in building were most common in communities with increases in personal income and in education among their residents; this was another reason why the South led in building expansions.

• Spending was also strong across the rest of the country from 1994 to 2008. The New York area led the country in cultural building ($1.6 billion), while the Los Angeles area saw an expansion of $950 million and the Chicago area saw spending of $870 million on arts-related projects.

• Smaller cities with fewer than 500,000 people were building as well, and many of these cities were building for the first time. On a per capita basis, nine of the top ten spenders on cultural projects were in smaller cities. Pittsfield, Mass., for example, with a population of 44,700, led the list with a per capita expenditure of $605 for six projects at a total cost of more than $81 million.

• More than 80 percent of the projects we studied ran over budget, some by as much as 200 percent.

• More performing arts centers were built than any other kind of arts facility.

The Effect of Gamma Rays on Man-in-the-Moon Marigolds is a play written by Paul Zindel, a playwright and science teacher. Zindel received the 1971 Pulitzer Prize for Drama and a New York Drama Critics' Circle Award for the work. The play's world premiere was staged in 1964 at the Alley Theatre in Houston, after which it premiered in New York City Off Broadway. It was adapted for the screen in 1972, directed by Paul Newman and starring his wife Joanne Woodward, daughter Nell Potts, and Roberta Wallach, daughter of Eli Wallach. Woodward won the award for Best Actress at the 1973 Cannes Film Festival.

The play revolves around the dysfunctional family consisting of single mother Beatrice and her two daughters, Ruth and Tillie, who try to cope with their abysmal status in life. The play is a lyrical drama, reminiscent of Tennessee Williams' style.

Shy Matilda "Tillie" Hunsdorfer prepares her experiment, involving marigolds raised from seeds exposed to radioactivity, for the science fair. She is, however, constantly thwarted by her mother Beatrice, who is self-centered and abusive, and by her extroverted and unstable sister Ruth, who submits to her mother's will. Over the course of the play, Beatrice constantly tries to stamp out any opportunities Tillie has of succeeding, due to her own lack of success in life. As the play progresses, the paths of the three characters diverge: Tillie wins the science fair through perseverance; Ruth attempts to stand up to her mother but has a nervous collapse at the end of the play, and Beatrice, driven to the verge of insanity by her deep-seated enmity towards everyone, kills the girls' pet rabbit Peter and ends up wallowing in her own perceived insignificance. Despite this, Tillie (who is much like her project's deformed but beautiful and hardy marigolds) secretly continues to believe that everyone is valuable.

Leegrid Stevens’ evocative new play, The Twelfth Labor, is epic, utilizing the myth of The Twelve Labors of Hercules to explore the inner workings of a hardscrabble World War II era family in Idaho. We follow a single day in the life of an Idaho farm family, October 15, 1949, as seen through the uniquely damaged mind of the family's eldest daughter, Cleo. Through her fragmented memories, often prophetic dreams, and swirling language, we come to understand the price she and her family have paid for a little dignity, as they await the return of their long absent father, lost somewhere in the war, half a world away.

In addition to the myth of Hercules, The Twelfth Labor draws upon the popular culture (music, literature, and film) of Cleo’s childhood, which frames and colors her experience of the real world—an outer shell of Realism surrounds an inner-shell of Surrealism, which together generate what The Des Moines Register (speaking of the second workshop production) called an “[…] elemental magnetism […]” which pulls the audience in and keeps them thinking of the play days and even weeks after.

Program & Marketing Manager

Organization

Blue Star Contemporary Art Center

Closing Date

Monday, July 16, 2012

Location

San Antonio, Texas

Information

Blue Star Contemporary Art Center is a non-profit, non-collecting contemporary art center in San Antonio, Texas that advances the growth, education and understanding of contemporary art, artists and the curatorial process. Through exhibitions and a variety of programs, Blue Star is an active participant in the development of regional, national and international contemporary art and provides a lively forum for the visual arts dialogue. Blue Star is a unique art space hosting over 20 exhibitions a year within its four distinct galleries showcasing the work of local, international, emerging and established contemporary artists, including our MOSAIC students.Position OverviewReporting to the Executive Director, the Program and Marketing Manager is responsible for developing, managing and implementing strategic public relations and marketing plans. The position also manages internal and external communications, brand strategy, social media platforms, the organization’s website and marketing collateral, direct mail, email marketing, advertising placement, promotions, and serves as an official spokesperson for Blue Star.The Program & Marketing Manager regulates the Blue Star calendar of events and exhibitions. They manage and supervise event and exhibition logistics, liaise with artists, curators, event committees and manage the Program Assistant, Preparator, Office Assistant and interns.

Ticket Prices: $12 general admission, and $9 for teachers, students, seniors 65+, active military, and SATCO members. Seating is limited at the Overtime, so it’s best to buy tickets in advance at Brown Paper Tickets.

What better way to start out in a new location than to have the first show authored by the namesake for one of The Overtime’s Theaters? In appreciation of his generous donation, the larger theater inside The Overtime will be named the Gregg Barrios Theater.

In this world premiere play, Gregg Barrios takes us on a journey of one man who searches for validation as a Chicano and as a Dance Club DJ. Both coincide with his coming out.

I-DJ received an earlier, successful reading commissioned by Sandra Cisneros’ Macondo Foundation. In part a one man show, the piece also features dancers, music through the decades of A&M Records, a live DJ, video projections, and a set designed by local graffiti artist Supher.

Alternately hilarious, devastating, and uplifting, this show is the perfect opening for the new Gregg Barrios Theater at the Overtime.

Join us for the Grand Opening Gala for the new Overtime Theater: July 6th at 6pm. Stay for Gregg Barrios’ I-DJ! There will be food, drinks, and much merrymaking.

The 25th Annual Putnam County Spelling Bee is a one-act musical comedy conceived by Rebecca Feldman with music and lyrics by Willian Finn, a book by Rachel Sheinkin and additional material by Jay Reiss. The show centers on a fictional spelling bee set in a geographically ambiguous Putnam Valley Middle School. Six quirky adolescents compete in the Bee, run by three equally quirky grown-ups.

Get ready to flex your spelling muscles as each night four REAL audience members will be invited onstage to compete in the spelling bee alongside the six young characters! About half an hour before the show begins, audience members in the lobby are given the chance to sign up to participate in the show as “spellers”!

Shhhhh….

On Saturday nights, adult-only audiences (over age 18) are invited for “Parent-Teacher Conferences.” These performances are peppered with references inspired by R-rated ad-libs made during rehearsals.

When a poor Russian milkman's daughter decides to marry her childhood sweetheart rather than the middle-aged man her father has arranged for her, the struggle between beloved traditions and a changing world begins. This Tony Award winning musical contains the beloved songs "If I Were A Rich Man", "Sunrise, Sunset", and "Matchmaker". Don't miss this live music show in the newly remodeled Circle Arts Theatre!

Tickets: $20 Reserved Ticket; $25 At The Door; SATCO Members, Student, and Military Discounts available at the door only with valid ID

"Alex Trevino (The Last 5 Years) and Thomas Sorensen star as brothers Austin and Lee along with ATAC Globe Winner Twyla Lamont in a bold new production of Sam Shepard's True West, brought to you by San Antonio's newest production company Aleja Productions. True West is a violent, unsettling, family drama about the lengths men will go in order to prove themselves to the ones they love. Recent University of Dallas graduate Phil Cerroni directs True West, which plays at the Woodlawn's new Black Box Theatre at 1920 Fredericksburg Road from July 12-21.

WATER is next in The Elementals series that Bonnie Cullum has been crafting with VORTEX Repertory Company for several years (AIR and FIRE). In September, VORTEX artists flood the stage with actual water and shimmering effects. The actors dance through water-- swimming the depths, relishing life force, honoring Water in many forms, and engaging the audience in a visceral journey of cleansing, healing, and heart. Devised in collaboration with the ensemble and designers and funded by the National Endowment for the Arts, WATER teams Cullum with long-time collaborator Toni Bravo to create a show unlike anything ever seen at The VORTEX.

Conceived and Directed by Bonnie Cullum. Choreography by Toni Bravo. Original Music by Chad Salvata. Scenic Design by Ann Marie Gordon. Lighting Design by Jason Amato. Costume Design by Talena Martinez. Stage Management by Tamara L. Farley. Photography by Kimberley Mead.WATER is funded and supported in part by an award from the National Endowment for the Arts, by a grant from the Texas Commission on the Arts and the City of Austin through the Cultural Arts Division believing an investment in the Arts is an investment in Austin's future. Visit Austin at NowPlayingAustin.com.

WATER is next in The Elementals series that Bonnie Cullum has been crafting with VORTEX Repertory Company for several years (AIR and FIRE). In September, VORTEX artists flood the stage with actual water and shimmering effects. The actors dance through water-- swimming the depths, relishing life force, honoring Water in many forms, and engaging the audience in a visceral journey of cleansing, healing, and heart. Devised in collaboration with the ensemble and designers and funded by the National Endowment for the Arts, WATER teams Cullum with long-time collaborator Toni Bravo to create a show unlike anything ever seen at The VORTEX.

WATER is funded and supported in part by an award from the National Endowment for the Arts, by a grant from the Texas Commission on the Arts and the City of Austin through the Cultural Arts Division believing an investment in the Arts is an investment in Austin's future. Visit Austin at NowPlayingAustin.com.

2013 Call for Promising Young Directors

DEADLINE EXTENDED to July 31st at 11:59pm

The New Directions program offers a young director with no professional credit the opportunity to direct a full-length play and bring a fresh new voice to Austin theatre while getting paid. The show will be fully produced by Capital T Theatre, and the director will have the opportunity to develop a piece of theatre that both reflects and contributes to the diversity of the Austin/Central Texas arts scene. As part of the New Directions program, Capital T is currently searching for a promising young director for the company’s contribution to the Long Fringe of FronteraFest. The Austin American Statesman calls this festival the fringe theater event of the Southwest.

All applicants need to be available in the Austin area during the rehearsal and performance processes (early December through early February). The company currently has several exciting scripts under consideration for FronteraFest, but welcomes suggestions from applicants as well. Plays must meet the following criteria: newer, edgy, and engaging full-length scripts (90 minutes or less); up to approximately 3-4 characters; minimal technical requirements; ability to be produced in six weeks or less.

Who can apply?

Anyone under 35 years of age who does not have a professional directing credit on their resume may apply. We consider any paid directing job a professional credit.

What do I need to do to apply?

To be considered for New Directions an applicant must submit a full theatrical resume and cover letter. The resume should include all theatrical credits. The cover letter should address why you are interested in being the next New Directions Director. It should also answer the question:”How can the New Directions program help you reach your next goal?”. Forward the resume and cover letter to info@capitalT.org

What happens next?

After the deadline has passed, the resumes and letters of interest will be read by a committee who will then select up to 10 finalists to invite to formal interviews. At these interviews each candidate will be given the opportunity to share a visual portfolio as well as discuss plays that are being considered for production. After this first round of interviews 3 finalist are selected for final interviews. Final interviews will be conducted with the artistic director, past new directions directors, and company members.

The Duke (Ben McLemore) leaves his puritanical Deputy Angelo (Robert Stevens) in charge, hoping he will rid the city of corruption. Though Angelo enforces the law, he becomes entangled in a web of lies when he is attracted to a young novice (Martinique Duchene-Phillips) pleading for the life of her condemned brother.

Sing Muse draws on the classical art forms of poetry, theatre, music, dance, history, and astronomy to bring a long-forgotten myth to the VORTEX stage for two weeks only.

Few remember Thamyris, the once-legendary poet of Ancient Greece who was the first man to fall in love with another man. But the Muses remember. Thamyris claimed he could make art superior to the Muses’ and failed. After defeating him, they sentenced him to an eternity in Hell. However, eternity is a long time, and now The Muses will give Thamyris one last chance to redeem himself. Together they tell a story about searching for the one thing more elusive than love: inspiration.

This production of Sing Muse is the initial phase of its artistic development. VORTEX welcomes audience response in order to assist in the future revision and production of this piece for VORTEX’s upcoming 25th season. There will be a talkback session after every performance for the audience to have a conversation with the artists who created the piece.

VORTEX Repertory Company members Jennifer Coy, Krysta Gonzales, Jonathan Itchon, Chelsea Manasseri, Betsy McCann, and Melissa Vogt-Patterson join with guest artists Hayley Armstrong, Nickclette Izuegbu, Laura Ray, and Karen Rodriguez to create a new theatre piece under the direction of Rudy Ramirez. These artists collaborated on original material all year to develop and devise Sing Muse.